Jessie Ware is one of pop’s most expressive vocalists, someone who’s able to convey a lifetime of joy or regret in the way she shades a syllable. On excellent albums like 2014’s Tough Love and 2017’s Glasshouse, she’s used that voice to increasingly languid ends, often sinking into slow-burn atmosphere and Quiet Storm balladry. As enjoyable as that’s been, it’s a pleasant surprise to hear the U.K. singer-songwriter hit the dance floor on her new single “Overtime.”
“Let’s find a way/Meet me at the bar and don’t be late/I could drink you up like summer lemonade,” Ware suggests in her breathiest, flirtiest tones as the track heats up. Her vocal is all classic house-music glamour, with a touch of more modern club music in the bounce of the bass. Back in the early 2010s, Ware first came to prominence through her collaborations with forward-thinking U.K. producers like SBTRKT and Joker; her pairing here with Simian Mobile Disco’s James Ford and Bicep’s Andy Ferguson and Matt McBriar, who teamed up to produce “Overtime,” is a perfect match. It adds up to four and a half minutes of pure bliss.
Estaremos juntos las 24 horas con el mejor sonido, escuchanos desde todas las plataformas
Sia Furler is looking for love. This being 2018, that means using apps like Tinder and Bumble. She doesn’t use her real name, but she does post real photos of herself on the apps. Not that anyone recognizes her; although she’s scored hits like “Chandelier” (1.9 billion YouTube views and counting) and “Cheap Thrills” (which made her one of only a handful of women in their forties to have a Number One hit), she has for years obscured her face with an oversize blond wig whenever she performs. When a potential date asks what she does for a living, she’ll say she’s a writer. Eventually, she might say, “I’m actually also a pop star called Sia.”
One star soars; the other crashes and burns. It’s a tale as old as time, flattened and fatigued by constant repetition. So why in hell did Bradley Cooper choose to make his debut as director with the third remake of A Star Is Born? What could he bring to the role of the self-destructive headliner living in the shadow of the protégée he loves? And why did he have Lady Gaga, going out on a limb in her first starring role, to follow in the footsteps of the legends who previously aced the role of the newbie: Barbra Streisand (1976), Judy Garland (1954) and Janet Gaynor (1937)? Talk about walking a tightrope without a net.
The Band Perry have announced a headlining North American tour in support of their recently released EP, Coordinates. The trek kicks off on October 12th at USC Aiken Convocation Center in Aiken, South Carolina.
Executive produced by Rick Rubin and written and produced by the band, the five-song Coordinates was released in September. In an interview with Variety, singer Kimberly Perry said that it was influenced by “German electronic music.”
“We went and studied a lot of that music, and on the way to the studio in the morning, we would be playing very specific things to inspire the mood of the day,” Perry explained of their sessions, adding that the EP’s “minimal brutalism” reflects “brutal” things happening in their personal lives, including her own recent divorce.
Drake and Michael Jackson are heading (back) to radio. Yesterday, October 2, Republic Records announced they will start promoting “Don’t Matter To Me,” featuring Michael Jackson, to pop, adult pop and rhythmic stations next week, via Billboard. The Scorpion cut was originally supposed to be a single this summer. When Graham’s fifth studio album dropped on June 29, the Toronto rapper’s team pushed the track — which features unreleased Jackson vocals — to pop radio programmers, who spun it 102 times, according to Mediabase. However, the song was quickly superseded by “In My Feelings” and the viral success that came with it.